by
Lydia Davis
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At this time, a friend wrote me a letter. He addressed me with the word “Dearest.” But however often I looked at the word “Dearest” and my name, I could not keep the two words together, because they did not seem related. He closed the letter by telling me to “have courage,” and I found, to my surprise, that if I simply looked at the words “have courage” there on the page, I had courage that I had not had a moment before.
iconic
A man came to the gate to ask a question, and I answered him over the top of it. He was courteous, gentle, and attractive but for his odd glasses. I met another man in a supermarket aisle. Younger, sportier than the first, he was attractive, too, but for his odd hairstyle.
I saw how recovery worked. I saw how, as time passed, other things came in between, as though a wall were being built. Events occurred and then receded in time. New habits formed. Situations in my life changed.
As long as everything stayed the same, it seemed possible for him to come back. As long as everything was the way he had left it, his place was open for him. But if things changed beyond a certain point, his place in my life began to close, he could not reenter it, or if he did, he would have to enter in a new way.
IN SCHOOL, THE TEACHER HELD A COMPOsition of mine up to the class when I was eight years old and said, “This little girl is going to be a writer.” At home—where Marx, socialism, and the international working class were articles of faith—my mother pressed my upper arm between two fingers and said, “Never forget where you come from.” Both events were formative. I grew passionate over writing, and the political-ness of life was never lost on me. In my youth these twin influences made me suffer. I thought them hopelessly oppositional, and was tormented by the suspicion that ultimately I need choose one way of knowing the world over the other. It was literature that spoke most thrillingly to what I was already beginning to call “the human condition,” but when social injustice stared me in the face it was easy enough to trade in emotional nuance for doctrinaire simplicity. So one day it was exciting to say to myself, “The only reality is the system”; the next, I’d pick up Anna Karenina, and the sole reality of the system would do a slow dissolve.
Suddenly, literature, politics, and analysis came together, and I began to think more inclusively about the emotional imprisonment of mind and spirit to which all human beings are heir. In the course of analytic time, it became apparent that—with or without the burden of social justice—the effort required to attain any semblance of inner freedom was extraordinary. Great literature, I then realized, is a record not of the achievement, but of the effort.
Jarrell once said that without literature human life was animal life. By literature, he meant, equally, both the writing of books and the reading of them. Reading, Jarrell thought, gave us back ourselves in a way that no other kind of non-material nourishment could match. In the ordinary dailiness of life we are alone in our heads, locked into a chaos of half-thoughts, fleeting angers, confused desires. When you read, the noise in your head clears out. You start having full thoughts. Full thoughts begin an internal conversation. Pretty soon, there are two of you in the room: you and your responding self. Now, you’ve got company, you’re connected. No longer do you feel alienated, not from yourself, not from others. Reading, therefore, is a supremely civilizing act.
The pity of it all is the loneliness trapped inside Roth’s radiant poison. In The Anatomy Lesson (by now it’s 1983) Nathan Zuckerman cries out, “How have I come to be such an enemy and a flayer of myself? And so alone! Oh, so alone! Nothing but self ! Locked up in me!” For Zuckerman, life, from beginning to end, is a howling wilderness. He is alone on the planet: alive but in solitary. All he has ever had to keep him company is the sexual force of his own rhetoric. Unchanged and unchanging, he struggles on, book after book, decade after decade, doomed to repeat in language that glows in the dark the increasingly tired narrative of the illness from which he can neither recover nor expire: his solipsism. He has succumbed to the danger inherent in closing the space between author and narrator; he has fallen in love with the inability to see himself in anyone other than himself, a development that leads inexorably to stasis.
wow
I'm asked a lot what the best thing about cooking for a living is. And it's this: to be a part of a subculture. To be part of a historical continuum, a secret society with its own language and customs. To enjoy the instant gratification of making something good with one's hands -- using all one's senses. It can be, at times, the purest and most unselfish way of giving pleasure [...]
[...] it was the last time they could say what they wanted in the workplace. The last time they could behave like savages, go home feeling proud and tired at the same time. The last time they could fuck somebody in the linen closet and have it not mean anything too serious, or stay out all night and wake up on the floor. The last time they found themselves close to people from every corner of the world, of every race, proclivity, religion and background. The restaurant business is perhaps the last meritocracy -- where what we do is all that matters. [...]
Thousands of the highly prized, relatively expensive striped bass were, in a rare feeding frenzy, suddenly there for the taking. You had literally only to throw bread on the water, bash the tasty fish on the head with a gaff and then haul them in. They were taking them by the hundreds of pounds. Every restaurant in town was loading up on them, their parking lots, like ours, suddenly a Coleman-lit staging area for scaling, gutting and wrapping operations. The Dreadnaught lot, like every other lot in town, was suddenly filled with gore-covered cooks and dishwashers, laboring under flickering gaslamps and naked bulbs to clean, wrap and freeze the valuable white meat. We worked for hours with our knives, our hair sparkling with snowflake-like fish scales, scraping, tearing, filleting. At the end of the night's work, I took home a 35-pound monster, still twisted with rigor. My room-mates were smoking weed when I got back to our little place on the beach and, as often happens on such occasions, were hungry. We had only the bass, some butter and a lemon to work with, but we cooked that sucker up under the tiny home broiler and served it on aluminum foil, tearing at it with our fingers. It was a bright, moonlit sky now, a mean high tide was lapping at the edges of our house, and as the windows began to shake in their frames, a smell of white spindrift and salt saturated the air as we ate. It was the freshest piece of fish I'd ever eaten, was due to the dramatic quality the weather was beginning me right in the brainpan, a meal that made me feel better better for eating it, somehow even smarter, somehow to the cortex, a clean, three-ingredient ingredient high, Could anything be better than that?
cute
Another class, Oriental Cookery, as I believe it was then called, was pretty funny. The instructor, a capable Chinese guy, was responsible for teaching us the fundamentals of both Chinese and Japanese cooking. The Chinese portion of the class was terrific. When it came time to fill us in on the tastes of Japan, however, our teacher was more interested in giving us an extended lecture on the Rape of Nanking. His loathing of the Japanese was consuming. In between describing the bayoneting of women, children and babies in World War II, he'd point at a poster of a sushi/sashimi presentation on the wall, and say in his broken, heavily accented English, 'That a raw a fish. You wanna eat that? Hah! Japanese shit!' Then he'd go back into his dissertation on forced labor, mass executions, enslavement, hinting darkly that Japan would pay, sooner or later, for what it had done to his country.
lmao